In the world of cinema, lists of the “greatest films” often spark much debate, but rarely do they elicit eye-rolls as spectacular as the latest compilation from Quentin Tarantino. Recently, the legendary director anointed Ridley Scott’s *Black Hawk Down* as the best film of the century—a pick that some may find respectable. But Tarantino’s further selections seem to suggest he’s lost in translation himself, blurring the line between personal whimsy and objective cinematic brilliance.
Tarantino’s second-place choice, *Toy Story 3*, is where the list derails into the bizarre. Although delightful and heartwarming, suggesting this animated romp eclipses the dramatic depths of countless other contenders is a stretch even Woody couldn’t make. Sure, *Toy Story 3* tugs at the heartstrings, but calling it the second best film of our time might as well imply Andy’s box of toys should be enshrined in the Louvre.
Further down, Tarantino includes Christopher Nolan’s sweeping war epic *Dunkirk*, which one might grudgingly accept, alongside *Lost in Translation*, a film seemingly for those who appreciate the cinematic equivalent of whispered sweet nothings. It’s as if Tarantino compiled his list while nostalgically flipping through old movie stubs rather than critically evaluating the profound narratives and technical feats of our era’s true masterpieces.
And then there’s *Mad Max: Fury Road*, a high-octane action spectacle undoubtedly entertaining but far from a monumental artistic achievement. Placing it above historical and politically charged dramas reflects an unsettling embrace of style over substance. One wonders if the roaring engines and bombastic stunts blurred Tarantino’s usually sharp assessment.
To round off this rollercoaster, he selects the comedic zombie flick *Shaun of the Dead*. While a delightful choice for a Saturday night, its presence on a top ten list hints at either a shortage of imagination or an oversupply of irony. Tarantino’s choices lack a comprehensive view of films that genuinely push boundaries, provoke thought, and define the cinematic era.
Lists like Tarantino’s remind us that personal taste often supersedes popular consensus. But when presenting such picks as the pinnacle of modern filmmaking, one can’t help but question the credentials of such claims. While everyone is entitled to their opinions, it would be refreshing to see a list that weighs cultural impact, narrative depth, and artistic innovation more heavily than the nostalgia or novelty value. But, alas, perhaps in the age of sequels and remakes, profound cinematic achievement is yet to be rediscovered—or merely waiting for directors who can see past the shimmer of computer-generated stars.
